Following the intervention by Marcus Geiger (2011) and the H ans Schabus solo exhibition (2012)\, this year the 21er Haus is once again the venue of a site-specific show\, created on the spot and occupying the e ntire building. It began with a solid cube\, reaching up to the museum atri um's ceiling. It stood as a mass of material\, a mine just waiting to be ex ploited. However\, nothing but emptiness was extracted from it at first. Th e music began\, and the four artists\, together with a group of friends the y had brought along from around the globe\, started digging and quarrying\, creating hollows. The holes were filled and their contents then distribute d around the space in the form of sculptures.

Gelatin touched down at the 21er Haus in search of lost form\, negative space\, and the und erside of the surface. This vast titan filled the space with its lightness. Its perfect form was ruined\; like some carious tooth\, it was bored into and sculpted to create everything else.

Imperceptibly soft\, i ts role was to create the exhibition and it was eaten away in the process. Gelatin ripped pieces out of the giant\, rather like the eagle gouging out Prometheus&rsquo\; liver. Classic materials and research into simplicity re sulted in sculptures and vice versa. And all this happened with the help of a confusing mass of skilled actors\, many hands giving and taking.
< br /> In six days\, from 5 to 9 June 2013\, Gelatin and their friends creat ed the exhibition on site and before their audience\, with musical accompan iment and food and drinks provided. They used the hollows dug out of the va st block as molds for sculptures\, which little by little then filled the r oom. This six-day performance transformed the museum into a cross between a venue\, studio\, stage\, and exhibition space. The exhibition features the sculptures created on site and what remains of their production is on show at the 21er Haus until 29 September.

DTEND:20130929 DTSTAMP:20151004T193927 DTSTART:20130605 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:Gelatin - Hole\, Wolfgang Gantner\, Ali Janka\, Florian Reither\, T obias Urban UID:286593 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Changing at regular intervals\, the presentation of the coll ection of contemporary art at the 21er Haus gives insights into Austrian ar t production while simultaneously placing it in an international context. T he current installation The Collection #3 comprises works from the 1940s to most recent positions. Works from the Belvedere&rsquo\;s permanen tly growing holdings and from the Artothek des Bundes are complemented by n ational and international loans. The section Freedom &ndash\; Form &nda sh\; Abstraction juxtaposes works of Austrian post-war modern art with contemporary positions\, thereby demonstrating both thematic and formal si milarities. In search of new identities and languages of form after World W ar II\, artists referred to geometrical construction\, reduced abstraction\ , and gestural painting. These formal tendencies reflected such internation al movements as Tachisme/Art Informel in Paris or Abstract Expressionism in New York. During the following two decades\, abstraction as a genre was to develop into a global language. In the past twenty years\, contemporary ar tists have also harked back to non-objective painting in the form of free g esture\, constructivism\, or monochrome reduction. In the section Sign &ndash\; Image &ndash\; Object\, the focus is on the blurring of bound aries between image and sign\, script and language\, and object and idea. T he play between signifier and signified &ndash\; the form of a sign and its meaning &ndash\; and their unclear statuses are also addressed by making r eference to the pattern of the process of perception and the translation of what is perceived into language. Finally\, Body &ndash\; Psyche &ndash \; Performance deals with social norms and their negotiation in the vi sual arts since the 1960s. Constructions of the self and their renderings\, marked by a tensional relationship between the mind\, social issues\, and the act of representation as such\, serve as a point of departure. Stereoty pes and conventions\, expressed\, for example\, by way of role models and t heir social legitimization\, are primarily addressed with regard to body an d gender.

DTEND:20131110 DTSTAMP:20151004T193927 DTSTART:20130621 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY: The Collection #3\, Marc Adrian\, Josef Albers\, Nikolas Gambaroff \, Martin Arnold\, Richard Artschwager\, Joannis Avramidis\, Josef Bauer\, Herbert Bayer\, Martin Beck\, Linda Bilda\, Mel Bochner\, Andy Boot\, Marce l Broodthaers\, Gunter Brus\, Jean-Marc Bustamante\, Gerard Byrne\, Adriana Czernin\, Carola Dertnig\, Heinrich Dunst\, Valie Export\, Ei Arakawa\, Jo hann Fruhmann\, Gelatin\, Roland Goeschl\, Franz Graf\, Ilse Haider\, Jenny Holzer\, Lisa Holzer\, Judith Hopf\, Damien Hirst\, Anna Jermolaewa\, H+H JOOS\, Birgit Jurgenssen\, Johanna Kandl\, Michael Kienzer\, Kiki Kogelnik\ , Peter Kogler\, Joseph Kosuth\, Richard Kriesche\, Elke Silvia Krystufek\, Hans Kupelwieser\, Maria Lassnig\, Thomas Locher\, Sarah Lucas\, Paul McCa rthy\, Josef Mikl\, Otto Muehl\, Oswald Oberhuber\, Silke Otto-Knapp\, Mich ael Part\, Helga Philipp\, Rudolf Polanszky\, Arnulf Rainer\, Lois Renner\, Gerwald Rockenschaub\, Anja Ronacher\, Dieter Roth\, Gerhard Rühm\, Allen Ruppersberg\, Peter Sandbichler\, Stefan Sandner\, Markus Schinwald\, Stefa nie Seibold\, Cindy Sherman\, Daniel Spoerri\, Curt Stenvert\, Josef Herman n Stiegler\, Rudolf Stingel\, Josef Strau\, Thaddeus Strode\, Rosemarie Tro ckel\, Walter Vopava\, Martin Walde\, Peter Weibel\, Lawrence Weiner\, Fran z West\, Sue Williams\, Erwin Wurm\, Gregor Zivic\, Heimo Zobernig\, Leo Zo gmayer\, Michael Franz\, Nadim Vardag UID:286591 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Set in a city overrun by bureaucracy\, Shaun Tan's picture b ook The Lost Thing tells the story of a boy who befriends a strang e creature that doesn't \;appear to fit in \;any of the available p igeon holes.

Melbourne-based production company Passion Pictur es Australia \;invited Shaun to direct an animated version of The L ost Thing. Several years later\, the Oscar®\;-winning short film em erged.

This exhibition features Shaun's exquisite original dra wings and working sketches alongside exclusive footage of the animators and sound artists\, demonstrating how the drawings were brought to life on scr een with movement\, sound effects\, music and narration.

DTEND:20140119 DTSTAMP:20151004T193927 DTSTART:20130716 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: The Lost Thing: From book to film \, Shaun Tan UID:286317 END:VEVENT BEGIN:VEVENT DTEND:20130716T180000 DTSTAMP:20151004T193927 DTSTART:20130716T100000 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: The Lost Thing: From book to film \, Shaun Tan UID:286318 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"If you want to get int o his work\, guess how many colors are represented in the various pieces on display. For instance\, Stanczak used simple black and white in one of his transparencies pieces called &ldquo\;Intravert I.&rdquo\; When studied and mused upon\, a viewer can begin to see other shades &ndash\; purple someho w coming through as one tone.


In his &ldquo\;It&rsquo\;s Not Easy Being Green\,&rdquo\; one migh t think in this grid work that there are two basic colors being employed &n dash\; blue and green. On closer study\, there are actually 45 different co lors.


How does the ar tist do it? How indeed. You can see\, if you look closely enough that Stanc zak juxtaposes color and manipulates the closeness or distance between sepa rations of colors. Stanczak may begin by painting a canvas black or white\, or green or blue\, and then applying stripes of tape (from his own tape ma chine) in varying distances between lines before he applies the second\, or 44th color. According to him\, the eye does the rest by making connections and applying some kind of order to what it is looking at."

\n< p style="text-align: center\;">-Roger Durbin\, Knight Arts


Line Color Illusion: 40 Years of Julian Stanczak showcase s paintings and prints collected by the Akron Art Museum since 1970. The ex hibition documents both Julian Stanczak&rsquo\;s impressive career as a mas ter of color and the museum&rsquo\;s longstanding commitment to his work.\n

A longtime resident of Northeastern Ohio and retired Clevelan d Institute of Art professor\, Julian Stanczak earned international recogni tion as a pioneer of &ldquo\;Op Art\,&rdquo\; a style based on optical illu sion\, following his first New York exhibition at Martha Jackson Gallery in 1964. Soon after\, Stanczak&rsquo\;s work--which he characterizes as perce ptual abstraction&mdash\;was included in the Museum of Modern Art&rsquo\;s landmark exhibition The Responsive Eye. Stanczak has continued to draw upon his deep understanding of color theory to explore how colors interact and are perceived. While his signature motifs have evolved\, his paintings and prints over the years are characterized by lines and colors that set up vib rations and create pulsating patterns.


The Akron Art Museum hosted one of the first public museum exhibitions of Julian Stanczak&rsquo\ ;s work and acquired the painting Dual Glare in 1970. Since that t ime the museum has augmented its collection with paintings and screen print s representing the variety of materials\, techniques and formal elements th at Stanczak continues to explore.

DTEND:20131103 DTSTAMP:20151004T193927 DTSTART:20130413 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Line Color Illusion\, Julian Stanczak UID:287630 END:VEVENT BEGIN:VEVENT DESCRIPTION:
During the years leading up to and following World War II\ , many American artists worked in styles that merged influences from Europe an Surrealism with native realist traditions. \;On the face of it\, Sur realists\, who explored the subconscious in search of higher realities\, an d realist artists\, who rely on motifs drawn from the observable world\, ma y appear to pursue conflicting styles. \;However\, a number of artists practicing during this tumultuous period married aspects of both approaches to create timely and compelling images. \;
Featuring more than 60 paintings\, drawings\, prints and photographs d ating from 1930 to 1955 drawn from the collection of the Whitney Museum of American Art\, Real/Surreal examines how American artists used str ikingly naturalistic details to imaginative images inspired by dreams and h ow they introduced disconcerting undertones into compositions that featured seemingly ordinary scenes. \;The exhibition features works by both wel l-known artists\, such as Charles Burchfield\, Edward Hopper\, Charles Shee ler and Grant Wood alongside engaging images by lesser-known talents\, amon g them Francis Criss\, Louis Gugliemi and Katherine Schmidt. \;
Real/Surreal offers viewers a journey tho ugh other realms\, be it George Tooker&rsquo\;s eerie subway station or Man Ray&rsquo\;s pool table careening into space under pastel clouds. \;An d often even ostensibly straightforward scenes\, such as Edward Hopper&rsqu o\;s Cape Cod Sunset\, have a disturbing quality\, here conveyed b y the half-drawn blinds and untrimmed grass suggesting a house that has lon g been abandoned. \;The exhibition also offers insights into the challe nges Americans faced during this critical era\, including the ravages of th e Dust Bowl depicted by Joe Jones in American Farm and the promise s and threats of technology referenced by Peter Blume in Light of the W orld.
 \;First presented as an exhibition drawn from the permanent collection at the Whitn ey Museum of American Art in New York in 2010\, Real/Surreal was g reeted with critical praise that inspired its tour to four additional museu ms nationwide. \;The Akron Art Museum showing\, accompanied by signific ant interpretive programming\, is made possible by generous support from Th e Henry Luce Foundation. \;
This exhibi tion was organized by the Whitney Museum of American Art\, New York.
DTEND:20131103 DTSTAMP:20151004T193927 DTSTART:20130720 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Real/Surreal\, Charles Burchfield\, Edward Hopper\, Charles Sheeler \, Grant Wood\, Francis Criss\, Louis Gugliemi\, Peter Blume\, Joe Jones\, Man Ray\, George Tooker\, Katherine Schmidt UID:287631 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With a Trace: Photographs of Absence features photo graphers spanning several generations who do not merely capture scenes but create distinct moments in time. Their images bear traces of human presence \, the transmission of energy\, atmospheric phenomena and experiments with light. Among the artists\, Christopher Bucklow\, Margaret De Patta\, Adam F uss\, Alison Rossiter\, Minor White and Hiroshi Sugimoto use a wide range o f processes to render their enigmatic subjects. Primarily analog or even ca mera-less photographers\, they highlight the versatility of non-digital pho tography in capturing what the eye may not see. Whether picturing a place o r thing or pure abstraction\, the photographs in With a Trace emanate a pal pable absence\, which is precisely what invites the mind to enter the scene .

DTEND:20140126 DTSTAMP:20151004T193927 DTSTART:20130727 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:With a Trace: Photographs of Absence\, Alison Rossiter\, Minor Whit e\, Hiroshi Sugimoto\, Christopher Bucklow\, Adam Fuss\, Margaret De Patta UID:293754 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In collaboration with Kent State University School of Archit ecture faculty\, Akron Art Museum staff charged third-year architecture stu dents with their first assignment based on a real-world project: create a d esign for the museum&rsquo\;s proposed outdoor sculpture gallery. This comp lex challenge involved conceiving of an outdoor space to showcase contempor ary sculpture\, installation and multimedia work that can also accommodate concerts\, parties and possibly even a café\;. The flexibility the mu seum seeks for the area reflects its embrace of the museum&rsquo\;s role as a cultural hub.

DTEND:20140105 DTSTAMP:20151004T193927 DTSTART:20130810 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Envisioning an Outdoor Sculpture Space: A Project with Kent State U niversity UID:293753 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ravenstail weavings by this prolific artist woven over the l ast 20 years\, includes robes\, tunics\, aprons\, and other selections.

DTEND:20131012 DTSTAMP:20151004T193927 DTSTART:20130405 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "Playing with Lightning"\, Kay Field Parker UID:276036 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This noted artist and carver has produced a wide range of ar twork including totems\, house posts\, masks and bentwood containers. "Rain forest Warriors" consists of Tlingit armor and clothing.

DTEND:20131012 DTSTAMP:20151004T193927 DTSTART:20130405 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "Rainforest Warriors"\, Tommy Joseph UID:276037 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Six individual artists from The Canvas each bring their uniq ue perspective to the ceramic pieces encompassed in this show. The Canvas i s a community outreach and day program for REACH\, an independent non-profi t organization serving people who experience disabilities.

DTEND:20131012 DTSTAMP:20151004T193927 DTSTART:20130503 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY:The Canvas at REACH artists exhibition: "Fish in the Water. Bird in the Tree. Vase by the Wall." UID:276038 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Having trained extensively in traditional as well as contemp orary approaches to art\, this Tlingit/Aleut multi-disciplinary artist draw s on a wide range of indigenous technologies and global materials to explor e his ideas.

DTEND:20131012 DTSTAMP:20151004T193927 DTSTART:20130517 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "The State of Being\, Displaced"\, Nicholas Galanin UID:276039 END:VEVENT BEGIN:VEVENT DTEND:20130517T173000 DTSTAMP:20151004T193927 DTSTART:20130517T083000 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "The State of Being\, Displaced"\, Nicholas Galanin UID:276040 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gottfried Helnwein is one of the most important internationa lly known Austrian artists. On the occasion of his 65th birthday\, the Albe rtina is dedicating the first retrospective of his works in Europe to him.< br /> 
More than 150 works from all phases of his career provide insig ht into Helnwein's creative work\, which is characterised by a pointed dial ogue with society\, its bete noires and taboo subjects. He primarily became known for his hyperrealistic paintings of wounded and bandaged children. E ven Disney figures take on a menacing aspect in Helnwein's works. Pain\, in jury and violence are recurring motifs in his unsettling and disturbing wor ks.

DTEND:20131013 DTSTAMP:20151004T193927 DTSTART:20130525 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Retrospective\, Gottfried Helnwein UID:278935 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the 1980s\, Gunter Damisch (born in Steyr/Upper Austria i n 1958) became known in the wake of the "Neue Wilde" or "New Wild Ones"\, a loose group of young artists responding to the internationally proclaimed downfall of painting with expressive\, colourful pictures. Within his exten sive oeuvre\, Damisch has conceived a highly individual iconography and myt hology that oscillates between figuration and abstraction and by which he f athoms his pictorial worlds. Since 1992 the artist has held a professorship in printmaking at the Academy of Fine Arts in Vienna. Within the framework of this exhibition\, his recent production of monumental woodcuts\, monoty pes\, and printed collages will be on public view for the first time.

DTEND:20130922 DTSTAMP:20151004T193927 DTSTART:20130619 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Macro Micro\, Gunter Damisch UID:278937 END:VEVENT BEGIN:VEVENT DTEND:20130619T210000 DTSTAMP:20151004T193927 DTSTART:20130619T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Macro Micro\, Gunter Damisch UID:278938 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition Albertina Contemporary will be closed from 28 to 29 Octobe r 2013.


The works currently on display are a selection of approximately 120 pieces from the Albertina's collection of contemporary art\, with a focus on the highlights of the museum's collecti ons. Works by Anselm Kiefer\, Gerhard Richter\, Markus Lü\;pertz\, Fran z Gertsch\, Maria Lassnig\, Florentina Pakosta\, Arnulf Rainer\, Robert Lon go and Herbert Brandl are amongst the samples at the heart of this year's e xposition of contemporary artworks at the Albertina.


Since its foundation in 1776\, art of the relevant period has always found a place at the centre of new acquisitions. In continuation of the traditio n established at the very outset and observed by the collection's initiator \, Albert von Sachsen-Teschen\, contemporary works on paper are an essentia l ingredient of museum policy governing collections and exhibitions.  \ ; The exhibition of the museum's own items of contemporary art\, allowing i nsights into the most recent period of art history\, is thus a core task fo r the Albertina and one which adheres closely to tradition.

DTEND:20131117 DTSTAMP:20151004T193927 DTSTART:20130716 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Albertina Contemporary\, Markus Lüpertz\, Gerhard Richter\, Anselm Kiefer\, Franz Gertsch\, Maria Lassnig\, Florentina Pakosta\, Arnulf Rainer \, Robert Longo\, Herbert Brandl UID:295259 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In a cabinet exhibition\, the Skulpturensammlung directs its focus on the nude around 1900. On view are small-sized works from their ow n holdings by German and French artists such as Ernst Moritz Geyger\, Arist ide Maillol\, Auguste Rodin and Bernhard Hoetger. Aspects of body\, landsca pe and eroticism are illustrated in nude sculpture of classic modernism. On ce presented in cases of the so-called Schaudepot\, bronze and marble sculp tures are now exhibited in a light setting and can be observed from all sid es. Here\, they enter into a dialogue with each other.


In the exhibition different subject areas reveal central textual and formal appea rances in nude sculpture around 1900. Auguste Rodin\, for instance\, who is known as the founder of modern sculpture\, introduced the introverted figu re in sculpture. His marble work &lsquo\;Eve&rsquo\; of 1881 is one example . Inspired by Rodin\, sculptors such as Stanislaus Cauer\, Max Lange or Pau l Sturm created elegiac nudes of Art Nouveau\, which seem to be isolated by space and whose meaning is incumbent upon the audience. Also the central t opic of the female nude bathing or at the toilette served as a good surface onto which an idealized role model of the woman could have been projected. Works by the Frenchman Albert Bartholomé\; and the German Georg Kolb e give proof.

DTEND:20131110 DTSTAMP:20151004T193927 DTSTART:20130530 GEO:51.0515749;13.7450004 LOCATION:Albertinum - Galerie Neue Meister (New Masters Gallery)\,Tzschirne rplatz 2 \nDresden \, D - 01067 SEQUENCE:0 SUMMARY:The Nude around 1900. Body\, Landscape\, Eroticism\, Auguste Rodin\ , Stanislaus Cauer\, Max Lange\, Paul Sturm UID:295598 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In its various forms\, Realism comprises an attempt to find an aesthetic that is true to life. This exhibition\, drawn entirely from th e AMAM&rsquo\;s collection\, explores the various approaches undertaken by Realist artists from the 19th to the mid-20th centuries\, in the name of ac hieving an aesthetic that would faithfully represent the contemporary world . The Realist movement first achieved cohesion in mid-19th century France\, where artists began to undermine what they perceived as the contrived arti stic practices of the French Academy. Championing subjects that found inspi ration in the ambient world rather than in classical tradition\, these arti sts aimed to frankly portray France&rsquo\;s natural landscape\, working cl asses\, and rural society.


The trends first set in motion by French artists reverberated throughout the rest of Europe\, reaching areas such a s The Hague\, where artists created naturalistic paintings of the Dutch lan dscape. The achievements of European Realists effectively broadened the sub ject matter and techniques deemed suitable for artistic representation\, se tting the stage for the experimental works of Impressionist and post-Impres sionist artists of subsequent generations.


Across the Atlantic\, 19 th-century American artists also expressed realistic tendencies\, creating detailed landscape studies and minutely rendered still lifes. Later manifes tations of Realism found form in the works of American Regionalist artists\ , who depicted everyday life in the Midwest\, as well as in the works of th e Ashcan School and urban realists\, who recorded the gritty\, often unappe aling realities of American city life.


Whether by practicing direct observation from life\, depicting accessible subjects\, or portraying vari ous social realities\, the artists in this exhibition shared a common goal of representing the modern world. The various techniques\, subjects\, and p ractices used reflect not only the complexity of contemporary life\, but al so the enormity of their artistic project.

DTEND:20140622 DTSTAMP:20151004T193927 DTSTART:20130806 GEO:41.29366;-82.216485 LOCATION:Allen Memorial Art Museum\,Oberlin College 87 North Main Street \ nOberlin\, OH 44074 SEQUENCE:0 SUMMARY:Regarding Realism UID:296075 END:VEVENT END:VCALENDAR